BBFC classification guidelines

The BBFC Classification Guidelines:

The BBFC or British Board of film Classification is the organisation legally responsible for film classification across the United Kingdom. The BBFC have the power to persuade cinemas into choosing the movies they will show at cinemas as many local authorities rely on the certifications of the BBFC.  Every film released in the UK must have an age certificate by the BBFC, which limits the ages of the audience that can watch, rent or by a specific movie. The BBFC sets guidelines that assess the appropriate viewing rate for theatrical films. These guidelines include Discrimination, Drugs, Horror, Imitable behaviour, Language, Nudity, Sex, Theme and Violence. All films in the United Kingdom are classified by these absolute guidelines. The certifications add details to allow the audience to witness the conventions that have placed a specific film into a certification. The BBFc’s guidelines are crucial for the audience and the BBFC has broken the certificates into “U” “PG” “12” “15” and “18” guidelines, all according to age. These certificates define the movie to the audience and also prohibit certain age groups attending movies as it may psychologically affect them.

Universal (U) – A universal certified film is suitable for all ages. The BBFC believe that it is impossible to predict what may upset a child in this movie. Universal films should be set in a positive moral framework that counterbalances any violence threat or horror. The Conventions within a universal film would show that:

·        Discrimination – No discriminatory behaviour

·        Drugs – Drugs can only be approved if they are being used to teach morals

·        Horror – Mild sequences, which will not cause anxiety to young children. The outcome must be reassuring.

·        Imitable Behaviour – No Dangerous behaviour that children will imitate and no emphasis on easily accessible weapons.

·        Language – Very mild bad language.

·        Nudity – Occasional natural nudity, but no sexual content.

·        Sex – Mild sexual behaviour for example kissing and inferences.

·        Theme – The theme must be sensitive for young children.

·        Violence – Mild violence used.

An example of a Universal certified film is the 2003 film “Finding Nemo” which was certified as available for all ages by the BBFC.

The Trailer of “Finding Nemo” can be found at: http://www.youtube.com/watch?v=gfgeIZyrIM0

“Finding Nemo” is an example of a universally certified film. However, a thriller sequence could not be certified as a “U” as it would restrict the amount of psychological tension and suspense, as it would be more than likely that young children may be affected from sequences of the thriller genre. The only positive would be that the audience will not be restricted.

Parental guidance (PG) – A “PG” certified film is classified as general viewing however some scenes may be unsuitable for young children to watch. A child accompanied by an adult may watch a PG rated movie, but parents should assess whether the context may upset a child less than 8 years of age or children with a more sensitive nature. The Conventions within a Parental Guidance film would show that:

·        Discrimination – Unlikely unless it refers to educational or historical context.

·        Drugs – Reference to drugs must be negative and portray that drugs are wrong.

·        Horror – Sequences must not be too intense or prolonged. Fantasy sequences are alternatives.

·        Imitable Behaviour – No focus on dangerous acts a child is likely to follow.  

·        Language – Mild bad language only

·        Nudity – Natural nudity and no sexual content

·        Sex – Sex activity can be implied, and innuendo can be shown

·        Theme – Serious themes such as domestic violence should be condoned as wrong.

·        Violence – Moderate Violence without too much detail.

An example of a Parental Guidance certified film is the 2002 film “Harry Potter and the Chamber of Secrets.” The BBFC believed that parents should asses the movie before taking their children to watch the film. 

The Trailer of “Harry Potter and the Chamber of Secrets” can be found at: http://www.youtube.com/watch?v=dmPrfYkpwTY

“Harry Potter and the Chamber of Secrets” is an example of a Parental Guided certified film. However, similarly to a universally certified film a parental guided film would restrict the amount of psychological tension and suspense within the thriller sequence. Although parents would be able to assess if the sequence would be suitable, a Parental Guided film still dilutes the true conventions of a thriller film as it could affect young children.

12A – A “12A” certified film is suitable for children aged 12 years and over. The content is only suitable for people aged 12 and over and younger children are advised not to watch, as it may cause upset. No one under 12 may see a “12A” film unless accompanied by an adult, if the adult’s judgement is suitable for the film. This moves the responsibility of the child’s actions on to the adult. The Conventions within a “12A” film would show that:

·        Discrimination – Discriminatory behaviour must not be constantly used.

·        Drugs – Any misuse of drugs should not be glamorised and scenes involving drugs must be infrequent.

·        Horror – Moderate physical and psychological threat is permitted, but these scenes are not frequent.

·        Imitable Behaviour – Dangerous behaviour should not be copied or appear harm free.

·        Language – Moderate Language can be used and bad language must be infrequent

·        Nudity – Sexual content must be brief and discreet

·        Sex – Sex can be briefly portrayed. These scenes must not go beyond what is suitable for young teenagers.

·        Theme – Most themes are acceptable as long as they are suitable for young teenagers.

·        Violence – Moderate violence, but not dwelled upon. There should be no emphasis on blood, but occasional gory sequences can be accepted if it is related to the context. Sexual violence must be implied and have strong contextual justification.

An example of a “12A” certified film is the 2007 film “Spiderman 3.” The BBFC believed that children under 12 should be accompanied with an adult when watching this film. 

The Trailer of “Spiderman 3” can be found at: http://www.youtube.com/watch?v=szh5ZsAcgJU

“Spiderman 3” is an example of a 12A certified film. However, unlike universally certified films and parental guided films and thriller sequence could be introduced at the rating of a “12A.” This rating allows a thriller that plays on mild suspense and tension to develop however some conventions in this guideline would still restrict the sequence developing in full contextual depth. An example would be the limit of  horror as only mild psychological threat is accepted and the scenes must be infrequent, but this is crucial factor in Thriller scenes.

15 – A “15” certified film is suitable for people aged 15 years and over. It is prohibited for people under the age of this group. The Conventions within a “15” certified film would show that:

·        Discrimination – The film must no completely endorse discriminatory behaviour.

·        Drugs – Drugs can be shown, but the movie must not encourage drug misuse.

·        Horror – Strong threat or menace are permitted, unless they are sadistic or sexualised.

·        Imitable Behaviour – Dangerous behaviour should not be dwelled upon or glorified.

·        Language – Frequent use of strong language, but harsher terms e.g. “cunt” must have a relation to the context. Words can be repeated

·        Nudity – Nudity is acceptable without strong detail.

·        Sex – Sexual activity is acceptable without too much detail. There can be strong references to sexual behaviour and it must be justified by the context. Sexual arousal is accepted.

·        Theme – No theme is prohibited, as well as it is suitable for 15 year olds.

·        Violence – Violence is accepted, but it cannot dwell on the infliction of pain and injury. Strong gory images are not acceptable

An example of a “15” certified film is the 2007 film “Kingdom.” The BBFC believed that children and adults over 15 are recommended age to watch this movie.  

The Trailer of “Kingdom” can be found at: http://www.youtube.com/watch?v=CGcdCjg_cMc

“Kingdom” is an example of a 15 certified film. Similar to “12A” certified film thriller sequences can be used within this rating as the conventions situated within a “15” certified film can apply to a thriller sequence.  A thriller sequence would be easily portrayed within this certification as fear, threat and mild horror can be applied to the sequence. A certification of “15” would help the audience asses that there will not be too much horror within the sequence because it is not an “18” certified film, which would possible play on the horror frequency of the thriller genre.

An “18” certified film is suitable for people aged 18 years and over. It is prohibited for people under the age of 18. An “18” certified film must relate to the 1998 Human Rights Act which focuses on what adults should be able to watch. Exceptions would be found in the following areas.

·        The material may breach criminal law or has been commissioned through a criminal offense.

·        The film appears to risk harm to society e.g. dangerous acts, which could effect social or political morals.

·        Explicit images must be justified within the content.

Other conventions in the “18” certification include:

·        Sex education – sex material informs and education’s matters in human sexuality.

·        Sex works – the focus on sexual arousal and stimulation and these stimulation are generally passed.

An example of a “18” certified film is the 2007 film “28 Weeks Later.” The BBFC believed that children and adults over 18 are recommended age to watch this movie.  

The Trailer of “28 Weeks Later” can be found at: http://www.youtube.com/watch?v=CiLQmDBQawE

“28 Weeks Later” is an example of an “18” certified film. Unlike the ratings of “12A” and “15” certified films “18” certified films could limit the age groups of people that will be able to watch our thriller sequence. The general age group of thriller as 14 – 20 year olds and if our thriller sequence was certified “18” our audience would be limited.  People may expect more gory scenes and horror in an “18” certified film and this is not an ideal convention for the thriller genre. A certification of “18” may provided limitations for our thriller genre.  

Apart from these age guidelines, the BBFC also look at legal laws in society. These include:

·        The obscene Publications Act 1959 & 1964

·        Criminal Justice and Immigration Act 2008

·        The Protection of Children Act 1978

·        The Animal Welfare Act 2006

These acts of legislation also contribute to the final certification the BBFC give to films

Questions in regards to guidelines:

How would each of the possible classifications affect the options for your film?

Our opening sequence is in relation to the thriller genre. This would require some psychological suspense and dramatic tension that may affect the audience. However, the certifications of “12A” and “15” can be considered as possible classifications for the thriller sequence. The guideline of “12A” could be ideal as it provides the audience with enough suspense without using gory images or psychologically affecting a young audience of 12 years and above. In addition, this would lead to the certification of “15” which would further allow our opening sequence to target a slightly older audience who could be more aware of certain physical or psychological effects situated within the sequence.

 

However the “18” certification may not be the best candidate for the thriller sequence. The “18” certification can relate to the thriller genre. However, if the audience saw that our thriller sequence was rated “18” the may believe that the sequence would relate closer to the horror genre. An example of this is “28 Days later” which is acknowledged in both the thriller and horror genre. This may damage the effect of our thriller sequence and the audience we may want to attract.

 

Which classification will be the most suitable in terms of audience and content appropriate for the thriller genre?

The best classification for a thriller sequence would be a “15” as it allows the directors to expand their conventions applied in the sequence, something they may not be able to do in the “12A” certification. However, the “12A” certification could also be equally effective, but it may depend on the subgenre of the sequence. An example of a “12A” thriller would include “Flight Plan” whilst other thrillers such as “Phone Booth” have been classified under the certificate of “15.” Both certifications can be equally effective, but it depends on the subgenre of the sequence and the approach directors may want to take in regards to the sequence e.g. Themes.

From Russia With Love Analyses

Film Analysis of a Thriller Sequence: From Russia With Love (1963)

Mise en Scene 

Lighting:

Low key lighting used. This creates a more expressing effect as long shadows are cast by characters creating silhouettes.

Identities are hidden due to the lighting.

 

Location/set:

The whole sequence is set on the streets of Istanbul, Turkey.

The sequence then progresses to the Hagia Sofia, which is dark, old and has historic features.

 

Props:

Suitcase – creates an enigma into why Bond is holding the suitcase.

Gold Bangle – Creates an enigma into why Tatiana has laid the bangle for Bond to collect

Gun – Creates suspense as danger is established through this prop.

 

Performance:

Bond is looking for Tatiana, show she can give him a map that will unlock further parts of the story to the audience.

Tatiana must travel to the mosque unseen showing that the passing of the message must go unhindered.

 

Costume/Hair make up:

Tatiana the woman protagonist is wearing a light blue suit. Bright colours are represented with good characters so the use of blue illustrates that Tatiana is a protagonist. Tatiana’s innocence is seen through her young face and blonde hair.

Bond is the main protagonist and is wearing his trademark suit making him look sophisticated and intelligent. The audience are accustomed to Bond’s suit making him the intentional protagonist.

 

Actor Appearance:

Sean Connery was athletic and agile when he made the Bond series in the early 60’s and 70’s. As he grew older he started to play more intellectual roles. This shows that Connery was able to play more versatile roles throughout his career.

Cinematography 

Camera Shots:

Establishing shot of the Middle Eastern Setting.

 

Very wide shot showing the inside of the mosque – with the use of lighting the dark scenery creates tension within the sequence.

 The use of very wide shots show Tatiana’s journey to the mosque.

 After the transition of a fade a new extreme long shot is applied to show Tatiana and the antagonist.

 A medium shot of the antagonist and his expression, which sets the atmosphere of the sequence.

 A medium close up is applied after the tilt to show the true identity of the new antagonist.

Camera Movements:

The camera pans to follow Bond’s walking pattern – allowing the audience to witness the caution in Bond’s step.

 

The tilts used in the sequence add tension and suspense as they are long and make the audience wait for the final shot. E.g. the tilt from the dead antagonist to the new antagonist standing above him.

 

Camera Angles:

A long shot and low angle is merged to make Bond seem powerful and in control of the actions he is taking in the mosque surroundings. 

Sound 

Ambient sounds are generally used in the opening sequence.

Score is quite low to replicate the building of action on the screen.

Sound of Bond and Tatiana’s footsteps in the mosque.

Sudden change of score from calm to dramatic. Key change adds tension to the sequence.

No dialogue used in the scene.

Sound synchronised with important actions.

The use of layering sounds and ambient score as the tour guide’s voice in the mosque gradually transforms from synchronous to asynchronous in sound. 

Editing  

Transition of a fade to show an ellipses of time.

Cross Cutting to link the characters of Bond and Tatiana together, which suggests there may be a link between them. This builds tension, as they have decided to choose visual communication over verbal.

More Cross Cutting between Tatiana and the first antagonist expanding the triangle.

Narrative Structure

The use of dramatic irony is linked to the thriller genre, as we know that Tatiana is being followed, but she doesn’t “stalker complex”

The use of  Red Herring as we believe that Bond killed the antagonist, however he didn’t

Ranges of enigma codes have been used in the sequence, which relates to the thriller genre.

Examples in the sequence include: What is in the suitcase? Why does Bond need a gun in the mosque? Who is the new antagonist? 

Influence for our thriller sequence  

The use of a Red Herring and the deception used towards the audience.

The use of unanswered enigmas in the sequence, which can create tension and suspense.

The manipulation of dramatic irony and how it can be related to the thriller genre. In “From Russia With Love” the dramatic irony comes from Tatiana being stalked by the first male antagonist. 

Analyses:

After watching a sequence from “From Russia With Love” a thriller movie it was clearly evident that there were aspects within the sequence that can be used in other thriller related sequences. Examples come from all aspects from Mise en Scene to Cinematography and even sound techniques used. Once these skills are applied to the sequence, other codes and conventions help to establish that the opening sequence of “From Russia With Love” can be classified in the contemporary thriller genre.

Firstly in regards to Mise en Scene the use of key props such as Bond’s suitcase, Tatiana’s gold bangle and a gun all help to contribute to the tension and suspense found in the thriller genre. Furthermore, the location used in the sequence of “From Russia With Love” also contribute to the thriller genre. The use of a dark, mysterious and historic building creates an enigma for the audience as they are compelled into why two protagonists would meet in such a location. Suspense is alleviated in this sequence because the dark shadows from the use of low key lighting create silhouettes, which cast big shadows over the mosque. This creates suspense as the audience are never aware of the shadows that pass throughout the sequence.

Moreover, in relation to cinematography the use of camera shots was crucial in illustrating that the opening sequence was part of the thriller genre. The sequence uses a variety of camera tilts to create suspense and make the audience wait to find out the true identity of antagonists and the answering of enigmas. The main camera tilt used to create suspense is the revealing of the new antagonist after a mystery character killed the original antagonist in the sequence. This tilt slowly builds tension in the sequence and allows the audience to receive the answered enigma as the audience are now aware that a new character has killed the antagonist in the sequence. The use of a camera tilt in “From Russia With Love” sets up a Red Herring another crucial aspect in regards to the conventions of the thriller genre.

Sound is an important part of building tension and suspense in the thriller genre. The sequence of “From Russia With Love” is no exception. At the beginning of the sequence, ambient sounds are used to present the atmosphere of the Istanbul through character conversations and movements. However, as the sequence unfolds in the mosque a score is slowly applied. The score in the sequence uses key changes as the score begins in a calm factor and then dramatically changed in relation to actions on screen. The key changes create suspense, which boosts the validity of this sequence in the thriller genre. The sound in “From Russia With Love” allow the audience to atmosphere the suspense caused by sounds whilst all the characters are situated in the mosque.

The use of editing helps to establish tension and suspense in the sequence. The sequence “From Russia With Love” uses cross cutting between James Bond and Tatiana to create tension, as the audience are shown that the characters cannot be seen together as it may be dangerous. However, once the sequence develops from the antagonist’s death the editing style changes to slow editing. This creates further suspense within the sequence as longer cuts mean greater tension and suspense.

Finally, to make a successful thriller sequence narrative structure is crucial. In the sequence of “From Russia With Love” the narrative structure begins with dramatic irony. The sequence uses a typical thriller aspect of a “stalker complex.” This creates tension within the sequence. This is illustrated when the original antagonist follows Tatiana. Furthermore, the sequence plays on enigmas whilst events unfold in the mosque. This is a classical trait in thriller movies and in this sequence the audience ponder upon questions like: Who is the man following Tatiana? What is the significance of the Gold Bangle Tatiana placed on the floor for Bond to collect? Who killed the original antagonist in the mosque? And finally Who is the new antagonist who has emerged from the murder. These narrative structures help to set up the rest of the movie as it gradually unfolds.

 

Film Analysis of a 

Thriller Sequence: 28 Days Later (2002)

Mise en Scene  

Lighting:

High key lighting used to illustrate expression on the main characters face and the eerie light that shines upon London.

 

Location/set:

The first location is set in an abandoned hospital creating tension and unlocking the first enigma.

The next location is set on the empty streets of London creating further tension within the sequence.

 

Props:

Phones in the hospital – showing that the main character has no communication with anyone.

Cans – shows chaos in the hospital and the desperation of the main character and the people in the past.

Key – The key could unlock the door to the main characters future.

Abandoned Money – shows the significance that the money is worth nothing.

Newspaper – provides the answer on why London is deserted.

 

Performance:

Cillian Murphy seems to be the only survivor in London after 28 days.

Murphy is attempting to find other civilians who he can interact with.

This adds tension and suspense due to the performance created by Murphy

 

Costume/Hair make up:

No facial make up has been applied to relate to the long period of time the main character has been in hospital.

However, make up has been applied to his head to make him seem like he has been experimented on.

Costume – scrubs from doctors, which showed the main characters desperation to grab what he could find at the hospital.

 

Actor Appearance:

Cillian Murphy is the main character of “28 Days Later.” He is young and can be seen as an irregular protagonist or contemporary victim as he is not physically able to fight against zombies. He is often noted by critics for his chameleonic performances in diverse roles.

Cinematography 

Camera Shots:

Very wide shots and extreme long shots are used to show that the main character is deserted on the streets of London and that all the surrounding locations are deserted with people.

 

Medium close ups of the main character to show puzzled, worried and distressed features on the main characters face.

 

A long shot is applied to show the entire body of the main character and the circumstance he is in.

 

An establishing shot of London is used to set the silent tense mood of the sequence and slowly develop the opening sequence.

 

Camera Movements:

A camera tilt is used to slowly establish the main character and add a dramatic effect to the beginning of the sequence.

 

The Camera pans to show the audience where the main character is heading next as he travels across Westminster Bridge.

 

Another Camera tilt is used on one of the buildings in London to shows that there are no people in the buildings.

 

The use of a zoom out from a medium close up to an extreme long shot shows how the main character is the only man in the street. This creates tension and makes the main character stand out.

 

Camera Angles:

The camera rotates from a canted angle to a normal shot to show the confusion in the sequence and possibly in the opening character’s mind. 

Sound  

The General sound of the sequence is ambient, with no use of a score to create tension in the sequence.

As the sequence draws to a climax a score is layered, making the scene more suspenseful adding tension to the sequence. 

Editing  

Continuity Editing is used to show that the sequence is real and not constructed.

Slow Editing is used to create tension in the sequence.

As the sequence draws to a close Fast editing is used to create dramatic tension that can be equipped with the score. 

Narrative Structure  

The narrative structure in the opening sequence is restrictive.

This creates enigma in the sequence as the audience want to know:

Why the hospital is deserted?

Where are the people in London?

Why is the main character in wires and naked in bed? 

Influence for our thriller sequence  

The use of long and wide shots to show the abandonment of the location that the main character has to face and the suspense that can be built from these scenes.

The use of ambient sounds and no score to add tension to the opening sequence.

Occasional close ups to show concerned, confused and anxious expression shown on the main characters face. 

Analyses:

After watching a sequence from “28 Days Later” a thriller movie it was clearly evident that there were aspects within the sequence that can be used in other thriller related sequences. Examples come from all aspects from Mise en Scene to Cinematography and even sound techniques used. Once these skills are applied to the sequence, other codes and conventions help to establish that the opening sequence of “28 Days Later” can be classified in the contemporary thriller genre.

Firstly in regards to Mise en Scene the use of key props such as the dislodged phones, scattered money and broken cans, all help to contribute to the tension and suspense found in the thriller genre. Furthermore, the locations used in the sequence of “28 Days Later” also contribute to the thriller genre. The use of an abandoned hospital creates enigma for the audience and the empty streets of London also add tension to the sequence. This links to the eerie light that slowly looms over the city creating suspense.

Moreover, in relation to cinematography the use of camera shots was crucial in illustrating that the opening sequence was part of the thriller genre. The sequence uses a variety of wide and extreme long shots to illustrate that the main character is the only person on the streets of London. This creates a form of suspense for the audience as, they witness that that the main character is the only person to be seen on the rural locations of London.  The use of medium close ups create tension as the audience witness the true anxiety and fear that the character is facing, this is a typical element of the thriller genre. Nevertheless, the use of camera movements builds tension in the sequence, especially in regards to the camera tilt. This slowly builds tension, in the scene as the camera tilts from the top to the bottom of a building leaving the audience compelled to find out what is at the bottom of the shot. 

Sound is an important part of building tension and suspense in the thriller genre. In the sequence of “28 Days Later” the sound is generally ambient showing that the only sound made in London is from the main character. Furthermore, as the sequence draws to a climax the score is dramatically layered creating tension for the audience as the main character finds out that he may be the only person situated within the city.

The use of editing helps to establish tension and suspense in the sequence. “28 Days later” uses slow editing to create suspense in the sequence, as objects and movements are slowly introduced into the sequence. However, once the sequence draws to an end and the dramatic score has been introduced fast editing was used to create dramatic tension to the sequence before drawing it to a close.

Finally, to make a successful thriller sequence narrative structure is crucial. In the sequence I have studied the narrative structure is restrictive. This draws a new element to the sequence which increases the tension and suspense as the sequence gradually unfolds and the audience and main character simultaneous learn things out at the same time. The sequence also uses enigmas, a classical trait in thriller sequences as it allows the audience to ask questions like, Where are all the people in London, Why have they disappeared? And What is responsible for their absence? These narrative structures help to set up the rest of the sequence as the movie unfolds.